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Okir, also spelled okil or ukkil, is the term for rectilinear and curvilinear plant-based designs and folk motifs that can be usually found among the Moro and Lumad people of the Southern Philippines, as well as parts of Sabah. It is particularly associated with the artwork of the Maranao and Sama (Badjao) tribes, although it can also be found to a lesser extent among the Maguindanao, Iranun, Tausug, Yakan, and Lumad groups. The design elements vary among these ethnic groups, with the greatest refinement being found among the Maranao. [1]
The origins of okir are pre-Islamic. They are believed to have originated from the much earlier okil or okil-okil decorative carving traditions of the Sama (Badjao) people, which are often highly individualistic and rectilinear. The Sama are master carvers, and they made lavish decorations on ritual animistic objects, grave markers (both in wood and stone), and their houseboats. These precursor forms of the okir designs can still be found in the art traditions of the Maranao in the basak (lowland) regions of Lake Lanao, and they contrast markedly from the later flowing okir designs. [1]
The rectilinear designs of the Sama were adopted and refined by the Maranao to decorate the torogan houses of the ruling dato class. The most prominent parts of the torogan are the panolong, the carved floor beams modeled after awang boat prows. These protrude in the front of the house and styled with elaborate okir designs, usually that of a naga (a sea serpent or dragon). These were meant to drive away evil spirits. Okir were also featured in the central housebeam, the tinai a walai ("intestine of the house"), which had ritual significance. [1]
Unlike the decorative carving traditions of the Sama, the panolong of the torogan became a symbol of power and status. As such, they increasingly became more and more elaborate, developing the flowing characteristics that it possesses today. It influenced other Maranao artforms greatly due to its association with rank and prestige, becoming used in textiles, musical instruments, betel quid containers, sculptures, weaponry, silver inlays, and so on. These designs became the standard for what came to be known as okir. [1]
From the Maranao, this spread to nearby regions through the migrations of the Iranun people (the descendants of the merchant and outcast clans of Maranao). Elements of okir have been adopted by the neighboring Maguindanao, Lumad, Yakan, and Tausug peoples of the Mindanao and the Sulu Archipelago; even influencing the carving traditions of the Sama later on. However, it had limited penetration among the Visayan-descended heavily-Islamized Tausug, the dominant ethnic group of Sulu. They viewed such carvings as "pagan". Okir among the Tausug is usually limited to the hilts and scabbards of weapons. [1]
The older Sama carving traditions (okil or okil-okil, sometimes spelled ukkil among Malaysian Sama) differ markedly from the okir of the Maranao, although elements of the okir were incorporated into later Sama carvings. Sama okil aren't bound to rules like the okir, and thus tend to be highly variable. Each artist carves according to his own tastes. Despite this, there are still shared motifs that bind them all together as Sama. [1] [2]
Sama okil can be divided into two types. The most ancient okil which still survive among the animist Sama, usually the sea-going Sama Dilaut branches, feature representational artforms like human figures. These are absent in the okil versions of the Sama that converted to Islam. Sama okil also feature designs which are realistic copies of natural forms, rather than stylized designs like in okir. [1] Marine themes are particularly common, including depictions of dugongs (duyong), usually with a person riding on its back. [2] The three most common okil motifs used by the Muslim Sama are dauan-dauan (leaf motifs), kaloon (curlicues and curved lines), and agta-agta or buaya (fish or crocodile motifs). [3]
Nevertheless, Sama okil share some common motifs with okir. The Maranao naga (sea serpent) figure is believed to be related to the Sama agta-agta motifs. They are a particularly common motif in the beautifully-carved prows, sterns, and gunwales of various Sama-Bajau boats. [3] [4] [5] [6] [7]
Okil are also highly important among Sama grave markers ( sunduk ) which are found in the ancient traditional burial grounds of the Sama people in some (usually uninhabited) islands of Sulu and Tawi-Tawi. These include some of the oldest examples of okil, which are usually carved from coral and limestone. Wooden carved grave markers are common later on, usually made from or carved from the boat belonging to the deceased. These are usually carved into human figures that represent the deceased. With graves of women identifiable by the presence of combs and mirrors, and graves of men by the depiction of head coverings. Graves of children usually have smaller figures. A common relatively recent tradition is the carving of elaborate stylized bed frames as grave markers. These graves are often decorated with buntings and food offerings, again reflecting the ancient ancestor worship ( anito ) traditions of the Sama. [2]
Maranao okir motifs are so stylized that it is often easy to tell whether a carving is Maranao or not. Other ethnic groups usually introduce other elements or motifs that are non-traditional to the original Maranao okir designs. In the past, okir designs, particularly for textiles, are distinctive enough that a Maranao can usually distinguish which region someone is from based only on the patterns of their malong and their woven decorative strips ( langkit ). [1]
Maranao okir can be divided into two traditions, the predominantly curvilinear "male" okir-a-dato, and the predominantly rectilinear "female" okir-a-bai. Unlike Sama okil, okir designs are deliberately stylized when depicting living things, due to Islamic beliefs against idolatry. Traditional creatures featured in okir are the naga (sea serpent) and the sarimanok (feminine papanok, a rooster-like bird with a fish in its beak and another fish in its claws). The naga is common in the panolong designs, while sarimanok are usually placed on top of poles during celebrations. Other creature motifs traditionally depicted in okir include crocodiles, parrots, grasshopper heads, and swallowtails. After contact with other cultures, okir has also depicted non-native animals, including lions, peacocks, and elephants. [2]
The most common individual elements of okir include the following: [1] [2]
These elements can be put together to create motifs. Some examples include: [1] [2]
Complete designs using these motifs are usually given poetic names like sapak a madanding ("branch of happiness"), raon a kayo ("tree leaves") or tring indawa ("yellow bamboo"). [2]
Okir-carving traditions among the Maranao is prominent in the town of Tugaya, Lanao del Sur. It is the traditional center of Maranao artisans and is the industrial capital of Lanao del Sur. [8]
Tawi-Tawi, officially the Province of Tawi-Tawi, is an island province in the Philippines located in the Bangsamoro Autonomous Region in Muslim Mindanao (BARMM). The capital of Tawi-Tawi is Bongao.
Lanao del Sur, officially the Province of Lanao del Sur, is a province in the Philippines located in the Bangsamoro Autonomous Region in Muslim Mindanao (BARMM). The capital is the city of Marawi, and it borders Lanao del Norte to the north, Bukidnon to the east, and Maguindanao del Norte and Cotabato to the south. To the southwest lies Illana Bay, an arm of the Moro Gulf.
The Autonomous Region in Muslim Mindanao was an autonomous region of the Philippines, located in the Mindanao island group of the Philippines, that consisted of five predominantly Muslim provinces: Basilan, Lanao del Sur, Maguindanao, Sulu, and Tawi-Tawi. It was the only region that had its own government. The region's de facto seat of government was Cotabato City, although this self-governing city was outside its jurisdiction.
Kulintang is a modern term for an ancient instrumental form of music composed on a row of small, horizontally laid gongs that function melodically, accompanied by larger, suspended gongs and drums. As part of the larger gong-chime culture of Southeast Asia, kulintang music ensembles have been playing for many centuries in regions of the Southern Philippines, Eastern Malaysia, Eastern Indonesia, Brunei and Timor, Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sundanese people in Java Island, Indonesia. Its importance stems from its association with the indigenous cultures that inhabited these islands prior to the influences of Hinduism, Buddhism, Islam, Christianity or the West, making kulintang the most developed tradition of Southeast Asian archaic gong-chime ensembles.
The Tausūg, are an ethnic group of the Philippines and Malaysia. A small population can also be found in the northern part of North Kalimantan, Indonesia. The Tausūg are part of the wider political identity of Muslim Filipinos of western Mindanao, the Sulu archipelago, and southern Palawan, collectively referred to as the Moro people. The Tausugs originally had an independent state known as the Sultanate of Sulu, which once exercised sovereignty over the present day provinces of Basilan, Palawan, Sulu, Tawi-Tawi, Zamboanga City, eastern part of Sabah and eastern part of North Kalimantan. They are also known in the Malay language as Suluk.
The Maranao people, also spelled Meranao, Maranaw, and Mëranaw, is a predominantly Muslim Filipino ethnic group native to the region around Lanao Lake in the island of Mindanao. They are known for their artwork, weaving, wood, plastic and metal crafts and epic literature, the Darangen. They are ethnically and culturally closely related to the Iranun, and Maguindanaon, all three groups being denoted as speaking Danao languages and giving name to the island of Mindanao. They are grouped with other Moro people due to their shared religion.
The malong is a traditional Filipino-Bangsamoro rectangular or tube-like wraparound skirt bearing a variety of geometric or okir designs. The malong is traditionally used as a garment by both men and women of the numerous ethnic groups in the mainland Mindanao and parts of the Sulu Archipelago. They are wrapped around at waist or chest-height and secured by tucked ends, with belts of braided material or other pieces of cloth, or are knotted over one shoulder. They were traditionally hand-woven, with the patterns usually distinctive to a particular ethnic group. However, modern malong are usually machine-made or even imported, with patterns that mimic the traditional local designs.
Tugaya, officially the Municipality of Tugaya, is a 5th class municipality in the province of Lanao del Sur, Philippines. According to the 2020 census, it has a population of 24,778 people.
The Iranun are an Austronesian ethnic group native to southwestern Mindanao, Philippines. They are ethnically and culturally closely related to the Maranao, and Maguindanaon, all three groups being denoted as speaking Danao languages and giving name to the island of Mindanao. The Iranun were traditionally sailors and were renowned for their ship-building skills. Iranun communities can also be found in Malaysia and Philippines.
The Sama-Bajau include several Austronesian ethnic groups of Maritime Southeast Asia. The name collectively refers to related people who usually call themselves the Sama or Samah ; or are known by the exonym Bajau. They usually live a seaborne lifestyle and use small wooden sailing vessels such as the perahu, djenging (balutu), lepa, and vinta (pilang). Some Sama-Bajau groups native to Sabah are also known for their traditional horse culture.
The Philippines is inhabited by more than 182 ethnolinguistic groups, many of which are classified as "Indigenous Peoples" under the country's Indigenous Peoples' Rights Act of 1997. Traditionally-Muslim peoples from the southernmost island group of Mindanao are usually categorized together as Moro peoples, whether they are classified as Indigenous peoples or not. About 142 are classified as non-Muslim Indigenous people groups, and about 19 ethnolinguistic groups are classified as neither Indigenous nor Moro. Various migrant groups have also had a significant presence throughout the country's history.
The vinta is a traditional outrigger boat from the Philippine island of Mindanao. The boats are made by Sama-Bajau, Tausug and Yakan peoples living in the Sulu Archipelago, Zamboanga peninsula, and southern Mindanao. Vinta are characterized by their colorful rectangular lug sails (bukay) and bifurcated prows and sterns, which resemble the gaping mouth of a crocodile. Vinta are used as fishing vessels, cargo ships, and houseboats. Smaller undecorated versions of the vinta used for fishing are known as tondaan.
Pangalay is the traditional "fingernail" dance of the Tausūg people of the Sulu Archipelago and eastern coast Bajau of Sabah.
The Culture of Basilan are derived from the three main cultural ethnolinguistic nations, the Yakan, Suluanon Tausug and the Zamboangueño in the southern Philippines. Both Yakans and Tausugs are predominantly Muslim, joined by their kin from the Sama, Badjao, Maranao, and other Muslim ethnolinguistic groups of Mindanao, while the Zamboangueños are primarily Christian, joined by the predominantly Christian ethnolinguistic groups; the Cebuano, Ilocano, Tagalog and others. These three main groups, however, represent Basilan's tri-people or tri-ethnic group community.
A torogan is a traditional ancestral house built by the Maranao people of Lanao, Mindanao, Philippines for the nobility. A torogan was a symbol of high social status. Such a residence was once a home to a sultan or datu in the Maranao community. Nowadays, concrete houses are found all over Maranaw communities, but there remain torogans a hundred years old. The best-known are in Dayawan and Marawi City, and around Lake Lanao.
The Kawayan Torogan (also Torogan sa Kawayan)is a traditional Maranao torogan (house) built by Sultan sa Kawayan Makaantal in Bubung Malanding, Marantao, Lanao del Sur. Being the last standing example of the house of the elite members of the Maranao tribe, and the only remaining habitable torogan, it was declared as a National Cultural Treasure by the National Museum of the Philippines in 2008. The location of the structure is in Marawi City according to a 2008 declaration, however, the location was shifted into Marantao in 2015 according to another declaration. The recently updated 2018 PRECUP currently states that the Kawayan Torogan is in Pompongan-a-marantao, a barangay (village) of Marawi City, not of Marantao town. The confusion has caused scholars to push for the declaration of the kawayan torogan in Marantao as a National Cultural Treasure, as well. The National Commission for Culture and the Arts has no official statement regarding the issue yet.
Lepa, also known as lipa or lepa-lepa, are indigenous ships of the Sama-Bajau people in Indonesia, the Philippines, and Malaysia. They were traditionally used as houseboats by the seagoing Sama Dilaut. Since most Sama have abandoned exclusive sea-living, modern lepa are instead used as fishing boats and cargo vessels.
Djenging is a type of large double-outrigger plank boat built by the Sama-Bajau people of the Philippines. It is typically used as a houseboat, though it can be converted to a sailing ship. It was the original type of houseboat used by the Sama-Bajau before it was largely replaced by the lepa after World War II. Larger versions of djenging were also known as balutu or kubu, often elaborately carved with bifurcated extensions on the prow and stern.
Awang are traditional dugout canoes of the Maranao and Maguindanao people in the Philippines. They are used primarily in Lake Lanao, the Pulangi River, and the Liguasan Marsh for fishing or for transporting goods. They have long low hulls that are carved from single trunks of lauan and apitong trees. They have no outriggers but have a single sail or a paddle. The prow and the stern are commonly elaborately decorated with painted designs and okir carvings, usually of the piyako and potiyok a rabong motifs. Some awang are also decorated with a carved prow extension known as the panolong or kalandapon.
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